Enkolpion with Nativity

by ArtByzantine ArtByzantine JewelryByzantiumEarly Christian ArtMedieval ArtStudent ActivitiesWorksheets
Enkolpion with Enthroned Virgin, Nativity, Adoration and Baptism, Early Byzantine, last quarter of the 6th century (ca. 583?), Gold, 7.2×6.5 cm, Dumbarton Oaks, Washington DC, USA https://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222607%22&sort=0&page=51

In the realm of Byzantine devotion, Enkolpia (plural of enkolpion) were cherished devotional objects, worn around the neck by early Christian believers. These items often depict religious icons, acting as both a personal expression of faith and a protective amulet. An enkolpion with the Enthroned Virginwould emphasize the veneration of Mary, the Nativity, Adoration, and Baptism scenes would highlight central narratives of the Christian story, underscoring the divinity of Christ from birth to baptism. The Dumbarton Oaks Enkolpion with Nativity, the Enthroned Virgin, Adoration and Baptism is more than an object, it’s a narrative of divine love and protection. This piece captures the Byzantine reverence for Mary and Christ’s life events, merging intricate craftsmanship with theological depth—a fascinating window into Byzantine religious artistry and belief.

The Enkolpion in the Dumbarton Oaks was once part of the collection of Josef Strzygowski, a prominent Austrian art historian known for his studies on Byzantine and Islamic art. Strzygowski’s collection included rare and unique devotional pieces, with the enkolpion being notable for its intricate scenes. The enkolpion changed hands in October 1955 when Walter Strzygowski sold it to Dumbarton Oaks Research Library and Collection in Washington, DC, where it now stands as a key artifact reflecting Byzantine religious art and devotion.

Tracing its provenance, we go back to June 22, 1906, at Graz, in Austria, where a Cypriot Greek sold it to the Austrian scholar. According to Marvin C. Ross (Art historian, curator and member of WWII Monuments Men), the same Cypriot states in a letter that ‘his treasure’ had been found in Cyprus (the small town of Karavas, near Lambousa), along with other Byzantine jewelry which was sold to the elder J. Pierpont Morgan, and which was later given, by his son, to the Metropolitan Museum of Art in New York.’  It is believed that the Dumbarton Oaks enkolpio was part of a much larger find, which has come to be called the Lambousa treasure. Today, in the Cyprus Museum in Nicosia, there is a gold hinge that perfectly fits the two rings at the top of the frame on the Strzygowski/Dambarton Oaks medallion, providing valuable evidence on the artwork’s provenance. https://www.jstor.org/stable/1291110?read-now=1&seq=1

The Byzantine Enkolpion, a type of devotional object worn around the neck, served as both a spiritual safeguard and a personal emblem of faith. These small, portable items, often featuring crosses, medallions, or reliquaries, were deeply intertwined with the daily lives and social practices of their owners, extending beyond mere religious devotion to function as symbols of protection, connection, and exchange. The Strzygowski/Dambarton Oaks Emkolpion consists of a Medallion, cast, not struck, 6.5 cm in diameter, and 109 grs of gold in weight, adorned with a braidlike inner border, and a broad, flat frame.

The Enkolpion of the Enthroned Mary at Dumbarton Oaks features intricate religious imagery that underscores its devotional purpose. On one side, the Virgin Mary is depicted seated on a throne, holding the Christ Child, flanked by two angels. Below this central scene are smaller panels illustrating key moments from Christ’s early life: the Nativity, with the Christ Child in a manger surrounded by the ox, the ass, and a contemplative Joseph; two shepherds pointing toward a guiding star; and the Visit of the Magi, who approach the Virgin and Child while a star shines above them. An inscription along the edge reads, “Christ, our God, help us.”

The reverse side of the Byzantine Enkolpion of the Enthroned Mary at Dumbarton Oaks depicts the Baptism of Christ, a scene rich with symbolic elements. On the left, St. John baptizes a nude Christ in the waters of the Jordan, while the Hand of God and the Dove of the Holy Spirit appear from above, signifying divine approval. To the right, two angels stand with their hands respectfully covered, witnessing the sacred event. Below, the river Jordan is personified, and two river nymphs swim, adding a sense of movement to the scene. Encircling the medallion is an inscription quoting Matthew 3:17: “This is my beloved Son, in whom I am well pleased.”

For a Student Activity, please… Check HERE!

Bibliography: https://museum.doaks.org/objects-1/info?query=Portfolios%20%3D%20%222607%22&sort=0&page=51 and A Byzantine Gold Medallion at Dumbarton Oaks by Marvin C. Ross, Dumbarton Oaks Papers, Vol. 11 (1957), pp. 247-261 (19 pages) https://www.jstor.org/stable/1291110?read-now=1&seq=1#page_scan_tab_contents

Jeff Koons’ Tulips

by 20th century ArtAmerican ArtArtStudent ActivitiesWorksheets
Jeff Koons, American Artist, 1955
Tulips, 1995–2004, High chromium stainless steel with transparent colour coating, 203x460x520 cm, Guggenheim, Bilbao, Spain – Photo Credit: Amalia Spiliakou, May 2024

A. E. Stallings’ poem about tulips, with lines like… Something about the way they drop / Their petals on the tabletop / And do not wilt so much as faint, reflects on the delicate beauty and graceful decay of the flowers. The tulips are imbued with a sense of drama as they twist / As if to catch the last applause, capturing a fleeting moment of life, beauty, and inevitable decline. This contrasts yet resonates with Jeff Koons’ Tulips sculpture at the Guggenheim Bilbao, where bright, balloon-like tulips are frozen in glossy stainless steel, defying decay. While Stallings’ tulips wear decay like diadems, Koons’ oversized flowers are immortalized, their playful, hyperreal forms celebrating beauty in an exaggerated, eternal form. Both the poem and the sculpture explore themes of ephemerality and the desire to capture beauty before it fades. https://julielarios.blogspot.com/2019/02/poetry-friday-tulips-by-ae-stallings.html

Jeff Koons, born in 1955 in York, Pennsylvania, is one of the most renowned contemporary artists, celebrated for his innovative and provocative works that blend high and low culture. He studied painting at the School of the Art Institute of Chicago and the Maryland Institute College of Art and gained early fame in the 1980s with his Equilibrium series, which featured basketballs suspended in tanks of water. His work often engages with consumerism, kitsch, and the nature of art itself, using bright colours, shiny surfaces, and familiar objects. Koons’ Banality series, which included his famous porcelain sculpture Michael Jackson and Bubbles, was a bold critique of mass media culture and celebrity worship, solidifying his place in the art world.

Koons is best known for his large-scale sculptures, such as his iconic Balloon Dog and Tulips, which use stainless steel and vivid colors to evoke the playful yet artificial nature of popular culture. His work often blurs the line between fine art and everyday objects, inviting viewers to question the value and meaning of art. Throughout his career, Koons has been both critically acclaimed and controversial, with some praising his ability to challenge art traditions and others criticizing his commercialism. Nevertheless, his work has been exhibited in major museums worldwide, and he remains one of the most influential and financially successful artists of his generation.

Jeff Koons, American Artist, 1955
Tulips, 1995–2004, High chromium stainless steel with transparent colour coating, 203x460x520 cm, Guggenheim, Bilbao, Spain – Photo Credit: Amalia Spiliakou, May 2024

Koons’ Tulips was acquired by the Guggenheim Museum Bilbao in 2006 as part of its mission to showcase influential contemporary art. The Guggenheim Bilbao, located in Spain’s Basque Country, is one of the most iconic museums in the world, both for its remarkable architecture by Frank Gehry and its role in revitalizing the city of Bilbao. Opened in 1997, the museum has become a symbol of urban regeneration, attracting millions of visitors and featuring groundbreaking contemporary works. The acquisition of Koons’ Tulips reinforced the Guggenheim’s reputation for collecting bold, boundary-pushing art, connecting its visitors to the provocative and playful tendencies in Koons’ work.

Tulips is a large-scale sculpture crafted from high-chromium stainless steel with a vivid, mirror-polished surface coated in a vibrant spectrum of colours. The sculpture measures over five meters in length and is composed of seven brightly coloured, balloon-like tulip flowers, bundled together and resting on the ground. Though they appear light and buoyant, as if filled with air, the tulips are in fact heavy and made of industrial materials, showcasing Koons’ fascination with merging the aesthetics of inflatables with the permanence of metal. The reflective surface of the sculpture plays with light, space, and viewer perception, engaging with Koons’ ongoing exploration of the relationship between illusion and materiality.

Aesthetically, Tulips represents Jeff Koons’ signature blending of pop culture, consumerism, and high art. The work evokes a sense of celebration and joy, with its oversized, colorful flowers reminiscent of party balloons, an object associated with childhood and festivity. Yet, beneath the surface, Tulips also explores themes of artificiality and mass production, as the flowers, though shiny and inviting, are cold and industrial in reality. The reflective surface creates a playful interaction between the viewer and the sculpture, encouraging self-reflection—both literally and metaphorically. In this way, Koons highlights the tension between appearance and substance, questioning the nature of beauty, value, and the commodification of art in the modern world.

For a Student Activity, please… Check HERE!

Tomb of the Leopards

by ArchaeologyArtEtruscan ArtPowerpoints
Etruscan Tomb of the Leopards, 473 BC, Tomb is decorated with fresco paintings, and measures: 3.52 x 3.3 x 2.16 in height, Monterozzi Necropolis, Tarquinia, Italy https://en.wikipedia.org/wiki/Tomb_of_the_Leopards#/media/File:Danseurs_et_musiciens,_
tombe_des_l%C3%A9opards.jpg

The walls of this little tomb, the Tomb of the Leopards, are a dance of real delight. The room seems inhabited still by Etruscans of the sixth century before Christ, a vivid, life-accepting people, who must have lived with real fullness. On come the dancers and the music-players, moving in a broad frieze towards the front wall of the tomb, the wall facing us as we enter from the dark stairs, and where the banquet is going on in all its glory…all is colour,‘ wrote D.H. Lawrence in the 1920s in his travel essays Sketches of Etruscan Places, and we do not seem to be underground at all, but in some gay chamber of the past. https://en.wikipedia.org/wiki/Tomb_of_the_Leopards  and https://creatureandcreator.ca/?tag=tomb-of-the-leopards&print=print-search

Let’s explore the ‘where’, ‘when”, ‘how’, and ‘what’ of this amazing Etruscan Tomb by posing some questions!

Where is the Tomb of the Leopards located? It is located in the Necropolis of Monterozzi, near the ancient city of Tarquinia in central Italy, about 90 kilometers northwest of Rome. The Necropolis, a UNESCO World Heritage site, contains more than 6,000 tombs, with over 200 of them featuring elaborate wall paintings. The Tomb is one of the most famous tombs in this burial complex. Situated on a hill, the site offers a panoramic view of the surrounding area, reflecting the importance of Tarquinia as a major center of Etruscan civilization.

When was the Etruscan Tomb created, and what does its time period reveal about Etruscan culture? The Tomb of the Leopards was created around 473 BC, during the height of Etruscan civilization. This time period reveals a society that was deeply influenced by Greek culture, evident in the style of the tomb’s frescoes, which feature lively banqueting scenes and depict an appreciation for luxury, social gatherings, and the afterlife. The artwork reflects the Etruscans’ belief in a joyous afterlife, where the deceased would continue to enjoy the pleasures of life. It also shows the importance of social status, as banquets were a symbol of wealth and power within Etruscan society.

How was it discovered? The tomb was discovered in 1875 during archaeological excavations. Its well-preserved wall paintings, depicting banqueting scenes and festive gatherings, provide valuable insight into Etruscan culture and funerary practices. The discovery of the tomb helped shed light on the artistic achievements and social customs of the Etruscans during the 5th century BC.

What are the architectural features of the Tomb of the Leopards, and how do they reflect Etruscan funerary practices? The Tomb of the Leopards features a rectangular plan with a vaulted ceiling supported by a double-pitched roof, which is a distinctive element of Etruscan tomb architecture. The walls are adorned with elaborate frescoes, while the overall layout is designed to resemble a domestic space, suggesting a connection between the afterlife and the living world. The use of a central burial chamber emphasizes the importance of the deceased, and the incorporation of benches along the walls for reclining figures mirrors the practice of banqueting, highlighting the Etruscans’ belief in the continuation of social customs beyond death. This architectural design reflects Etruscan funerary practices that celebrated life and the afterlife, creating a space that honours the deceased and facilitates their ongoing social interactions.

What is the interior decoration of the Tomb of the Leopards? The frescoes in the Tomb of the Leopards vividly depict Etruscan social life within a beautifully adorned interior featuring a double-pitched roof decorated with parallel rows of white, red, and green checkers, complemented by a central beam bordered with the same colors and adorned with red and green circles. On the right wall, a dancer clad in the traditional tebenna holds a cup while accompanied by two musicians, known as ‘The Three Musicians’; the central figure, in a yellow and blue dress, plays the aulòs, and the musician to his right, dressed in a red robe edged with green and yellow, strums a zither. This scene captures the cultural significance of music and dance in Etruscan society. The central wall, the tomb’s focal point, showcases a lavish banquet with three married couples reclining on twin beds, sipping wine, their heads adorned with myrtle wreaths. The men, with dark complexions and bare chests, contrast with the lighter-skinned women, two blondes and a brunette, elegantly dressed. Notably, the man on the far right holds an egg, symbolizing rebirth. Above this lively banquet, two imposing leopards with jaws wide open flank the scene, while olive trees enhance the naturalistic setting, reflecting Etruscan beliefs about life, social customs, and the joyous continuance of such gatherings in the afterlife.

How do the Tomb’s frescoes represent Etruscan beliefs about the afterlife and social customs? The frescoes in the Tomb represent Etruscan beliefs about the afterlife as a continuation of earthly pleasures, particularly social gatherings and banquets. The scenes of feasting, drinking, and music suggest that the afterlife was imagined as a joyful, celebratory experience where the deceased would partake in these activities alongside their peers. The presence of both men and women at the banquet reflects Etruscan social customs, where women had a more prominent role in public and social life compared to other ancient cultures. The inclusion of these vibrant scenes also indicates the importance of status, as banquets were reserved for the elite, underscoring the Etruscans’ emphasis on wealth and social standing in life and death.

What aesthetic values, such as the depiction of movement, symmetry, or colour, can be seen in the Tomb’s frescoes, and how do they reflect Etruscan attitudes toward life and death? The frescoes display key aesthetic values such as vibrant colour, fluid movement, and a balance of symmetry, all of which reflect Etruscan attitudes toward life and death. The figures are shown in dynamic poses, with expressive gestures that convey a sense of liveliness and celebration, suggesting a joyful approach to both life and the afterlife. The use of bright, bold colours, particularly reds, blues, and yellows, enhances the festive atmosphere and reflects the Etruscan belief in a vivid, pleasurable afterlife. Symmetry is also present in the composition, especially with the positioning of figures and the leopards flanking the scene, which creates a sense of harmony and order. Together, these aesthetic choices symbolize a continuity between the pleasures of earthly life and the joys of the afterlife, reflecting the Etruscan view that death was not an end, but a transition to another phase of existence.

For a PowerPoint on Etruscan Tombs and their fresco decoration, please… Check HERE!

Bibliography: https://tarquiniaturismo.com/tomb-of-the-leopards/?lang=en and https://tarquinia-cerveteri.it/en/tarquinia/necropolis-of-tarquinia/tomb-of-the-leopards/ and https://www.facebook.com/watch/?v=259193665622286 (video)

Saint in Prayer

by 19th century ArtArtPowerpointsSpanish Art
Joaquín Sorolla y Bastida, Spanish Artist, 1863-1923
Saint in Prayer, 1888 – 1889, Oil on Canvas, 78×61 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/saint-in-prayer/992c8493-24c0-49ed-ac58-a4b690099b81

Joaquín Sorolla y Bastida is a favourite Spanish artist of the late 19th early 20th century art scene. Saint in Prayer is a small gem of a painting, I find particularly intriguing. The Prado Museum description of its composition sets the tone masterfully… The small, frail figure of the young saint is placed before a sumptuous geometrically decorated golden backdrop. Sorolla must have used templates to produce some of the decoration, particularly the small squares on the surface of the wall and the gold circles on the dress, although in other cases he uses his brush to achieve the same effect. Particularly attractive is the combination of different circular shapes: the gold halo, the circle around a border with plant and animal motifs, the little circles on the dress. All are inspired by decorative patterns typical of the High Middle Ages. https://www.museodelprado.es/en/the-collection/art-work/saint-in-prayer/992c8493-24c0-49ed-ac58-a4b690099b81

Born in Valencia in 1863, Joaquín Sorolla y Bastida showed an early talent for art, which led him to train at the Academy of San Carlos in his hometown. After completing his studies, he moved to Madrid, where he spent countless hours at the Museo del Prado, studying the works of great Spanish masters like Velázquez and El Greco. In 1885, a scholarship allowed him to study in Rome, deepening his exposure to classical art. He later spent time in Paris, where he encountered the emerging Impressionist movement, which influenced his focus on natural light and color. These experiences, combined with his Mediterranean roots, shaped his signature style, marked by vibrant depictions of sun-drenched beaches and lively scenes from everyday life.

Throughout his life, Sorolla explored a wide range of subjects, from portraits and landscapes to social themes, yet his hallmark was the interplay of natural light, and his ability to capture the luminosity of the Spanish coast as exemplified in his painting Boys on the Beach (Tacher Curator BLOG POST of July 26, 2024). Marked by success in international exhibitions, gaining recognition for his vivid, sunlit canvases and his vibrant brushwork, Sorolla became one of Spain’s most celebrated artists. https://www.teachercurator.com/art/boys-on-the-beach-by-joaquin-sorolla-y-bastida/

On the 8th of September 1888, in Valencia, Sorolla married Clotilde García del Castillo, his confidant, traveling companion, bookkeeper (or in his words, “my Treasury Minister”), and muse. Shortly after, along with his friend Juan Antonio’s sister, the couple travelled to Italy and spent a period in Assisi where Sorolla began to paint “genre scenes” to earn a living. https://www.metmuseum.org/art/collection/search/437706

Joaquín Sorolla y Bastida, Spanish Artist, 1863–1923
Señora de Sorolla in Black, 1906, Oil on Canvas, 186.7 x 118.7 cm, the MET, NY, USA https://commons.wikimedia.org/wiki/File:Se%C3%B1ora_de_Sorolla_
(Clotilde_Garc%C3%ADa_del_Castillo,_1865%E2%80%931929)_in_Black_MET_DP168810.jpg
Sorolla painting ‘Clotilde in a Black Dress’, 1905. Photograph by Christian Franzen © Museo Sorolla, Madrid, Spain
https://www.nationalgallery.org.uk/exhibitions/past/sorolla/what-you-need-to-know-about-sorolla

This period was pivotal in shaping Sorolla’s artistic development, as it introduced him to the Italian Renaissance masters. During this time, he concentrated on religious subjects, one notable example being Saint in Prayer (1889), now housed in the Museo del Prado. The painting reflects Sorolla’s sensitivity to spiritual themes, employing a soft, glowing light that reveals his growing ability to capture mood through illumination—a hallmark of his later, more renowned works. Treasured by Sorolla and his wife, the piece held a special place in their home. In his 1906 portrait Señora de Sorolla in Black, the painting features prominently in the background, framing Clotilde’s face. Sorolla’s time in Assisi refined his technical skills and deepened his fascination with the interplay of light, setting the foundation for his future artistic achievements.

For a PowerPoint Presentation of the artists oeuvre, please… Check HERE!

Bibliography: https://www.cultura.gob.es/dam/jcr:9fa09fae-ac06-454d-b8ad-8c904954f240/biografia-eng-origenes.pdf

House of the Large Fountain

by Ancient Roman VillasArchaeologyArtMosaicsPowerpointsRoman Art
House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://pompeiisites.org/en/comunicati/the-house-of-the-large-fountain-the-house-of-the-anchor-and-the-temple-of-isis-all-reopen-to-the-public/#&gid=1&pid=8

Pompeii is an ancient Roman city located near modern-day Naples, Italy, that was buried under volcanic ash and pumice after the eruption of Mount Vesuvius in AD 79. The eruption preserved much of the city in remarkable detail, offering a unique glimpse into Roman life. Excavations have revealed homes, streets, public baths, markets, and temples, as well as vibrant frescoes and mosaics. One of the notable residences is the House of the Large Fountain, famous for its elaborate garden fountain adorned with mosaics, showcasing the wealth and artistic tastes of its owners. Pompeii is renowned for its archaeological significance, as the site provides valuable insight into the daily routines, social structures, and art of Roman civilization over 2,000 years ago.

The House of the Large Fountain is one of Pompeii’s most distinctive and luxurious residences, celebrated for its remarkable garden and ornamental water features. Located on Via di Mercurio, the house’s layout dates back to the early 2nd century BC, though it underwent various modifications over time. Originally, the two atria were connected, but later alterations separated them, with the smaller atrium marked by six Doric columns. A portico supported by brick columns was added behind the tablinum, enhancing the house’s architectural complexity. In the final years before Pompeii’s destruction, the large fountain that gives the house its name was erected against the back wall of the small garden, set against a backdrop of vibrant mosaics and decorative stucco that showcases a sense of elegance and refinement.  https://pompeiisites.org/en/archaeological-site/house-of-the-large-fountain/

House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html

This Pompeiian example of domestic architecture is a stunning blend of artistry and antiquity, rooted in the elegance of the 2nd century BC. The fountain, the house’s most striking feature, dominates the garden space with its intricate design of wall mosaic and sculpture. In front of a colonnaded façade, the fountain consists of a niche which is completely covered with polychrome tesserae and embellished with two marble sculpture theatrical masks, a rare example of non-floor mosaic nympheum made of glass paste and stone. The mosaics, adorned with delicate seashells, and two marble theater masks, reflect the artistic tastes of the Roman aristocracy, offering a glimpse into the luxury and aesthetic values of the time. This lavish display of art and water highlights the owners’ wealth and status in Pompeian society.

The fountain’s centerpiece, a cylindrical base with a central hole, stood bare when first uncovered in the early 19th century. It wasn’t until the late 19th century that a bronze copy of a cherub riding a dolphin, originally discovered in the nearby House of the Arches, was placed at the fountain’s heart. This artistic choice mirrored the style of the House of the Small Fountain, where a similar cherubic figure with a goose serves as the focal point. The display we see today faithfully recreates this historical arrangement, echoing the fountain’s transformation and its lasting legacy over the centuries.

The fountain, positioned at the end of the garden, would have provided a soothing ambiance with its flowing water, contributing to the overall tranquility of the space, offering valuable insight into how water, art, and nature were integrated into daily life. This feature, combined with the house’s other luxuries, points to the social status of its owners, who likely used the space for both private leisure and hosting social gatherings.

House of the Large Fountain, 2nd century BC to 1st century AD, Pompeii (Regio VI   Insula 8.22), Italy
https://www.planetpompeii.com/en/map/the-house-of-large-fountain/524-the-house-of-large-fountain.html and Luigi Bazzani, Italian Artist, 1836–1927
A fountain in Pompeii (House of the Large Fountain, Pompeii), 1888, Watercolour on Paper, 46.35x 35.56 cm, Victoria and Albert Museum, London, UK https://collections.vam.ac.uk/item/O406355/painting-of-pompeii-drawing-luigi-bazzani/#object-details

Today, the house is a key example of Roman domestic art and garden design, offering valuable insight into how water, art, and nature were integrated into daily life. The lavish decorations and grand layout reflect the wealth and aspirations of the Pompeian elite, while the preservation of the site allows modern visitors to step into a world of ancient luxury. The House of the Large Fountain continues to fascinate both archaeologists and visitors for its artistic and architectural significance.

For a PowerPoint Presentation of the House of the Large Fountain in Pompeii, please… Click HERE!

Bibliography: https://collections.vam.ac.uk/search/?page=1&page_size=15&q=Luigi+Bazzani

Snow Scene at Argenteuil

by 19th century ArtArtFrench ArtImpressionismStudent ActivitiesWorksheets
Claude Monet, French Artist, 1840 – 1926
Snow Scene at Argenteuil, 1875, Oil on Canvas, 71.1 × 91.4 cm, the National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/claude-monet-snow-scene-at-argenteuil

Thomas Hardy’s poem Snow in the Suburbs and Claude Monet’s painting Snow Scene at Argenteuil share a common theme of how snow transforms and softens everyday environments, imbuing them with a quiet beauty. Both works capture the stillness that snow brings, turning ordinary settings into places of reflection… Every branch big with it, / Bent every twig with it; / Every fork like a white web-foot; / Every street and pavement mute: / Some flakes have lost their way, and grope back upward when / Meeting those meandering down they turn and descend again. / The palings are glued together like a wall, / And there is no waft of wind with the fleecy fall.    /    A sparrow enters the tree, / Whereon immediately / A snow-lump thrice his own slight size / Descends on him and showers his head and eye / And overturns him, And near inurns him, / And lights on a nether twig, when its brush / Starts off a volley of other lodging lumps with a rush.    /    The steps are a blanched slope, / Up which, with feeble hope, / A black cat comes, wide-eyed and thin; / And we take him in. https://poets.org/poem/snow-suburbs

In Hardy’s poem, snow gently covers the suburb, altering the familiar landscape and quieting the usual hustle of the city. He writes about how snow touches everything from roofs to cats, creating a peaceful, almost tender transformation. Similarly, Monet’s painting depicts the serene beauty of snow-covered streets and houses in Argenteuil, where soft light and gentle textures evoke a calm and meditative atmosphere. The quiet streets and the snow-laden environment appear untouched, giving a sense of tranquility. Both works express the delicate, transformative effect of snow. Hardy’s use of precise, quiet imagery mirrors Monet’s soft brushstrokes, each turning a mundane urban scene into something ethereal and profound, highlighting the interplay between nature and human environments during winter.

Claude Monet, French Artist, 1840 – 1926
Snow Scene at Argenteuil (detail), 1875, Oil on Canvas, 71.1 × 91.4 cm, the National Gallery, London, UK https://www.nationalgallery.org.uk/paintings/claude-monet-snow-scene-at-argenteuil

Claude Monet lived in Argenteuil, a suburban town near Paris, from 1871 to 1878, a pivotal period in his artistic career. During these years, he fully embraced the Impressionist style, focusing on capturing the effects of light, colour, and atmosphere in outdoor settings. Argenteuil’s scenic landscapes, including the Seine River and its gardens, provided Monet with abundant inspiration. It was here that he painted some of his most famous works, including Snow Scene at Argenteuil and The Railway Bridge at Argenteuil, often depicting the natural beauty of the town with loose brushstrokes and vibrant colours. His home also became a gathering place for fellow Impressionists like Renoir and Manet, fostering the collaborative spirit that helped define the movement. Monet’s time in Argenteuil solidified his position as a leading figure in the development of Impressionism.

Monet painted several snow scenes during the winter of 1874-75 while living in Argenteuil, capturing the tranquil, muted beauty of the snow-covered suburban landscape. One of these canvases, showing the Boulevard Saint-Denis, depicts a quiet, snow-blanketed street near his home, with figures slowly making their way through the thick snow. The scene captures the foggy atmosphere of winter, where the distant buildings seem to fade into the mist, and the snowy road, marked by cart tracks, leads the viewer’s eye toward the horizon. Despite the serene and picturesque view, Monet subtly conveys the modernity of Argenteuil, a developing suburb of Paris, with newly built houses lining the boulevard, blending the timeless beauty of nature with the progression of urban life. These snow scenes reflect Monet’s mastery in depicting light and atmosphere, transforming a modern setting into a peaceful, almost dreamlike winter landscape.

For a Student Activity inspired by Claude Monet’s painting Snow Scene at Argenteuil, please… Check HERE!

Pumpkins

by 20th century ArtArtStudent ActivitiesWorksheets
Yayoi Kusama, Japanese Artist, b. 1929
Pumpkins, 1987, acrylic on canvas, 38.1 x 45.4 cm, Private Collection https://www.christies.com/lot/lot-6337416?ldp_breadcrumb=back&intObjectID=6337416&from=salessummary&lid=1

Yayoi Kusama’s iconic Pumpkins, covered in her signature polka dots, offers a fascinating way to reflect on Thanksgiving’s themes of abundance, connection, and gratitude. Kusama’s philosophy, as expressed in her quote … With just one polka dot, nothing can be achieved. In the universe, there is the sun, the moon, the earth, and hundreds of millions of stars. All of us live in the unfathomable mystery and infinitude of the universe. Pursuing ‘philosophy of the universe’ through art under such circumstances has led me to what I call ‘stereotypical repetition.’ … perfectly mirrors the communal spirit of the holiday. Just as the individual polka dots in her work only achieve meaning as part of a larger pattern, Thanksgiving reminds us that our lives gain richness through the connections we share with others. The pumpkin, a symbol of harvest and gratitude, becomes, in Kusama’s hands, a meditation on infinity and cosmic unity, making her painting an artistic embodiment of Thanksgiving’s deeper significance. https://www.brainyquote.com/quotes/yayoi_kusama_624395

Yayoi Kusama is a world-renowned Japanese contemporary artist known for her distinctive use of polka dots, repetitive patterns, and immersive installations. Born on March 22, 1929, in Matsumoto, Japan, Kusama displayed an interest in art from a young age. Her work spans various mediums, including painting, sculpture, performance, and installation art. Kusama studied Nihonga, a traditional style of Japanese painting, but soon grew disillusioned with its limitations. In the 1950s, she moved to New York, where she became associated with the avant-garde art scene, often engaging with Pop Art, Minimalism, and Abstract Expressionism. During this period, she produced her signature “Infinity Net” paintings, featuring seemingly endless networks of small, looped brushstrokes, which began to earn her international recognition.

Mental health struggles, particularly hallucinations and obsessive thoughts, have deeply influenced Kusama’s work throughout her career. She voluntarily admitted herself to a psychiatric hospital in Tokyo in the 1970s and has lived there ever since, continuing to produce art from a nearby studio. Kusama’s installations, such as her famous Infinity Mirror Rooms, immerse viewers in vast, reflective spaces that play with perceptions of infinity. Her bold use of colour, patterns, and immersive experiences has made her one of the most recognizable and celebrated artists of the 20th and 21st centuries. Kusama has also explored literature, writing several novels and poems. Today, her work continues to be exhibited globally, inspiring audiences with its blend of beauty, surrealism, and psychological depth.

Yayoi Kusama’s motif of ‘Pumpkins’ is her most iconic, representing both personal and universal symbolism. Kusama has been fascinated with pumpkins since childhood, associating them with comfort and stability. The pumpkin, with its organic, bulbous form and vibrant color, mirrors her characteristic use of repetitive patterns and polka dots, evoking a sense of playful whimsy while also confronting themes of obsession and infinity. She often depicts pumpkins in large-scale sculptures, paintings, and installations, where their surfaces are covered with polka dots, creating a visual interplay between form and texture. For Kusama, pumpkins embody a juxtaposition of simplicity and surrealism, offering a connection to nature and a grounding presence amidst the infinite and the abstract.

Yayoi Kusama’s 1987 painting Pumpkins, sold at Christie’s, is a vibrant work that captures her signature motif of pumpkins alongside her infinity nets and polka dots. The composition features two undulating pumpkins against a pink and white net background, combining figuration with abstraction. The pumpkins are rendered in her distinctive yellow polka-dotted style, creating a sense of dynamic movement. This work is a classic example of Kusama’s exploration of obsession and repetition, while also conveying her deep personal connection to the motif, symbolizing comfort and joy. https://www.christies.com/lot/lot-6337416?ldp_breadcrumb=back&intObjectID=6337416&from=salessummary&lid=1

When things go wrong, it helps to remember all the good things in the world… Warmest Thanksgiving greetings to you and your family

For a Student Activity for Kindergarten, please… Check HERE!

Martin Johnson Heade’s Hummingbirds

by 19th century ArtAmerican ArtArtPowerpointsUncategorized
Martin Johnson Heade, American Artist, 1819-1904
Cattleya Orchid with Two Brazilian Hummingbirds, 1871, Oil on Panel, 34.9 x 45.7 cm, Private Collection https://www.christies.com/lot/lot-6465936?ldp_breadcrumb=back&intObjectID=6465936&from=salessummary&lid=1

Why do you stand on the air / And no sun shining? / How can you hold yourself so still / On raindrops sliding? / They change and fall, they are not steady, / But you do not know they are gone. / Is there a silver wire / I cannot see? / Is the wind your perch? / Raindrops slide down your little shoulders . . . / They do not wet you: / I think you are not real / In your green feathers! / You are not a humming-bird at all / Standing on air above the garden! / I dreamed you the way I dream fairies, / Or the flower I lost yesterday!… wrote American Poet Hilda Conkling, and I think of Martin Johnson Heade’s Hummingbirds! https://discoverpoetry.com/poems/hummingbird-poems/

Martin Johnson Heade is a 19th century American painter. Though initially not as celebrated as his contemporaries in the Hudson River School, Heade eventually gained recognition for his unique approach to landscape and still life painting. Unlike many of his peers who focused on the grandeur of American landscapes, Heade turned his attention to more intimate scenes, combining elements of nature with a profound interest in light and atmospheric effects. His career spanned over five decades, during which he traveled extensively across the United States, Latin America, and the Caribbean. These travels greatly influenced his artistic focus and the subjects of his work, particularly his fascination with Hummingbirds and tropical scenes.

The artist’s painting Cattleya Orchid and Two Hummingbirds is a striking example of his intricate and lush compositions, blending the precision of natural history illustration with the depth and emotion of high art. This work, part of his larger series on Hummingbirds, showcases Heade’s fascination with the exotic and his ability to render nature with an almost surreal clarity. The painting features a large, blooming Cattleya Orchid, its vibrant pink and purple hues standing in contrast to the deep greens of the tropical background. This choice of flower, known for its large, showy blooms and rich colours, allows Heade to explore the theme of exotic beauty, while also demonstrating his skill in capturing the delicate textures of petals and leaves.

The two Hummingbirds, to the right of the Orchid, are depicted with exquisite detail, their iridescent feathers glinting against the darker backdrop. This dynamism and the vivid contrast between the birds and their environment highlight Heade’s interest in the interplay of light and colour, as well as his ability to capture the fleeting moments of natural beauty. Heade illuminates the Orchid and the two Hummingbirds with a soft, almost ethereal light, emphasizing their delicate beauty and the magical quality of the scene. This lighting technique, combined with the precise rendering of subjects and the atmospheric depth of the background, creates a sense of immediacy and intimacy, drawing the viewer into a moment of quiet yet profound connection with the natural world.

Moreover, the composition of Cattleya Orchid and Two Hummingbirds reflects a deliberate balance between realism and romanticism, characteristic of Heade’s work. Meticulous attention to biological detail serves not only to celebrate the diversity and intricacy of nature but also to invoke a deeper sense of wonder and transcendence. This painting, therefore, stands as a testament to Heade’s artistic achievements, showcasing his unique ability to fuse scientific observation with a deeply felt aesthetic sensibility, offering viewers not just a depiction of nature, but an invitation to engage with its underlying mystery and beauty.

Martin Johnson Heade’s artistic achievements lie in his distinctive approach to painting, which merged elements of the Hudson River School with a keen observation of nature, light, and atmosphere. Heade’s contributions to art extend beyond his Hummingbird series. He is also celebrated for his magnificent landscapes and seascapes, as well as his stunning still lifes of flowers, particularly magnolias set against velvety backgrounds. Despite his late recognition, today Heade is acknowledged as a pivotal figure in American art, his work revered for its unique blend of realism, romanticism, and transcendentalist philosophy.

For a PowerPoint, titled Martin Johnson Heade, 10 Paintings, please… Check HERE!

Bibliography: https://www.christies.com/lot/lot-6465936?ldp_breadcrumb=back&intObjectID=6465936&from=salessummary&lid=1 and https://www.nga.gov/content/dam/ngaweb/Education/learning-resources/an-eye-for-art/AnEyeforArt-MartinJohnsonHeadeJohnJamesAudubon.pdf and https://www.aaa.si.edu/blog/2020/10/conversations-across-collections-martin-johnson-heades-notebook-on-hummingbirds

The Virgin with the Pomegranate

by 15th century Italian Renaissance ArtArtItalian Renaissance ArtPowerpointsRenaissanceRenaissance Art
Fra Angelico (Guido di Piero di Gino), 1395-1455
The Virgin with the Pomegranate, ca. 1426, Tempera on Panel, 87×59 cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/the-virgin-with-the-pomegranate/61b654df-1de2-483f-88bb-404f37747d4a?searchid=55f3ec41-7c92-bebf-e83c-b0e5c7f74a9f

Fra Giovanni Angelico of Fiesole, known in the world as Guido, was no less excellent as a painter and illuminator than as a monk of the highest character, and in both capacities, he deserves to be most honourably remembered. Although he might easily have led a secular life and gained what he liked at art beyond what he possessed, for he showed great skill while still quite young, yet being naturally quiet and modest, he entered the order of Friars Preachers 1 chiefly for the sake of his soul and for his peace of mind… As I ponder Giorgio Vasari’s words about this serene soul, my mind drifts to his masterpiece, The Virgin with the Pomegranate, housed in the Prado Museum. The painting radiates the same tranquility and depth of faith that guided Fra Angelico’s life, its vibrant yet tender hues evoking a sacred moment of grace. https://www.artist-biography.info/artist/fra_giovanni_angelico/ Giorgio Vasari, Lives of the Most Excellent Painters, Sculptors, and Architects, first published in 1550 and dedicated to Grand Duke Cosimo I de’ Medici

Fra Angelico, born Guido di Pietro around 1395 near Fiesole in Tuscany, was a prominent early Renaissance painter known for his deep spirituality and serene artistic vision. He initially trained as a manuscript illuminator before entering the Dominican Order of Friars Preachers in Fiesole, taking the name Fra Giovanni. His religious commitment deeply influenced his work, and he spent much of his career painting frescoes for monasteries and churches, including the renowned frescoes at the Convent of San Marco in Florence. Fra Angelico’s reputation as both a devout monk and a master painter earned him admiration across Italy, and in 1982, he was beatified by Pope John Paul II for the holiness reflected in his art. His works, characterized by their radiant colour and graceful compositions, brought the spiritual themes of the Christian faith to life with a profound sense of reverence.

Aesthetic values were central to Fra Angelico’s approach, reflecting his deep religious conviction and his desire to evoke the divine. He believed that art was a form of prayer and aimed to create works that inspired contemplation and devotion. His use of light and colour was symbolic, often representing the heavenly and the sacred, with soft, luminous tones that infused his figures with an ethereal quality. Fra Angelico’s compositions, whether in fresco or panel painting, emphasized harmony, balance, and simplicity, reflecting the spiritual ideals of humility and grace. His figures, especially his depictions of the Virgin Mary and angels, are known for their gentle, serene expressions, which convey a sense of inner peace. Through his artistic choices, Fra Angelico sought not only to beautify religious spaces but also to uplift the soul, making the divine more accessible to the viewer.

Fra Angelico (Guido di Piero di Gino), 1395-1455
The Virgin with the Pomegranate (detail), ca. 1426, Tempera on Panel, 87×59 cm, Prado Museum, Madrid, Spain
https://arthive.com/artists/2681~Fra_Beato_Angelico/works/566563~Madonna_with_pomegranate_Fragment_Mary_and_the_Angels

The Virgin of the Pomegranate is a masterpiece painted by Fra Angelico during a pivotal moment in the early 15th-century Florentine Renaissance. This work is a stunning example of the spiritual and artistic transformation taking place during the Quattrocento period. The painting stands out not only for its delicate beauty and religious significance but also for its rarity—being one of the few masterpieces of its era that was up until 2016, still in private hands. As Italian Renaissance art began to capture the attention of collectors and critics in the 19th century, most works by figures like Fra Angelico, Masaccio, and Masolino became housed in major European and American museums, making The Virgin of the Pomegranate even more exceptional. The Prado Museum acquired the painting in 2016 for 18 million Euros. The purchase was made possible through contributions from the Spanish state, the Fundación Amigos del Museo del Prado, and from the museum’s own funds.

Alongside this purchase, the Duke of Alba donated another Fra Angelico work, The Funeral of Saint Anthony Abbot, further enriching the museum’s collection of early Florentine art so that… all Spaniards and art lovers from every part of the world who visit the Prado and admire this most important Museum will have a better understanding of the master’s artistic achievements. http://www.alaintruong.com/archives/2016/01/26/33272102.html

Fra Angelico (Guido di Piero di Gino), 1395-1455
The Funeral of Saint Anthony Abbot, 1426 – 1430, Tempera on Poplar panel, 19.7×29.3cm, Prado Museum, Madrid, Spain https://www.museodelprado.es/en/the-collection/art-work/the-funeral-of-saint-anthony-abbot/1af1dc35-845c-43d3-b701-f5f9747e3113

Both paintings showcase Angelico’s mastery of delicate lines, soft color palettes, and ethereal figures. The Virgin’s serene expression, in particular, and the tender interaction with the child reflect a deep sense of spiritual devotion. The gold background creates a divine atmosphere, evoking the sacredness of the scene. Fra Angelico’s balanced composition and attention to detail enhance both paintings’ meditative and contemplative quality.

For a PowerPoint Presentation titled 10 Masterpieces by Fra Angelico, please… Check HERE!

For an interesting Video on Fra Angelico’s painting The Virgin with the Pomegranate, please Check…https://www.museodelprado.es/en/whats-on/multimedia/the-virgin-of-the-pomegranate-and-the-funeral-of/60b91c7a-86e2-47c7-8323-3341d196d7d6

Head of Nemesis

by Ancient Greek ArtArchaeologyArtGreek ArtRoman ArtSculptureStudent ActivitiesWorksheets
Head of Nemesis, the personification of attribution of Justice, 2nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

Of Nemesis we sing, undying goddess, stern Victory with spreading wings, infallible, seated by the throne of Justice; of thee that resentest man’s arrogance and sweepest it down to Tartarus… wrote Mesomedes of Crete, the Greek lyric poet and musician of the 2nd century AD, who served at the court of Emperor Hadrian. Standing before the Head of Nemesis from the Museum of ancient Agora in Athens I can almost feel the weight of divine retribution she carries, much like in Mesomedes’ Hymn to Nemesis, where she is invoked as the ever-watchful enforcer of balance, striking down human arrogance. https://laudatortemporisacti.blogspot.com/2008/07/mesomedes-hymn-to-nemesis.html

Goddess Nemesis in ancient Greek mythology was the personification of divine retribution and justice, often associated with the punishment of hubris (excessive pride or arrogance, in Greek Ύβρις). She was believed to maintain balance by ensuring that no individual, mortal or divine, grew too proud or overstepped moral boundaries. Nemesis was depicted as a stern and impartial force who imposed punishment on those who defied the natural order, often by bringing misfortune to those who had gained undeserved success or wealth.

Nemesis was traditionally viewed as a daughter of Nyx (Night), though her parentage varies in different accounts. She was also sometimes seen as an agent of fate, aligning her with themes of destiny and the unavoidable consequences of one’s actions. The goddess was often portrayed as a winged figure holding a sword, scales, or a wheel, symbolizing the cyclical nature of fortune and justice. https://www.perseus.tufts.edu/hopper/text?doc=Perseus%3Atext%3A1999.01.0130%3Acard%3D207

Worship of Nemesis was widespread, and she had a notable cult center at Rhamnous in Attica, where she was honored as a protector of justice. The temple at Rhamnous housed a large statue of the goddess, created by the sculptor Agorakritos, a student of Phidias, and was considered one of the finest representations of the goddess. Located near the fortress of Rhamnous, the temple symbolized her role as a guardian of law and order, watching over the region and its people, ensuring that justice was upheld in both mortal and divine realms.

Roman Copy of the statue of Nemesis of Agorakritos in the Ny Carisberg Glyptothek, Copenhagen https://www.worldtravelimages.net/Copenhagen_Glyptotek.php
Agorakritos of Paros, 5th century BC
Head of Nemesis, the personification of attribution of Justice, 430-420 BC, Marble, Height: 41.91 cm, British Museum, London, UK https://www.britishmuseum.org/collection/object/G_1820-0513-2
Head of Nemesis, the personification of attribution of Justice, 2nd century AD, Marble, Museum of Ancient Agora, Athens, Greece – Photo Credit: Amalia Spiliakou, February 18, 2024, ‘Meanings’. Personifications and Allegories from Antiquity to Today Exhibition, Acropolis Museum, Athens, Greece

The Statue of Nemesis by Agorakritos, a celebrated pupil of the renowned sculptor Phidias, was a masterpiece of classical Greek art housed in the temple of Rhamnous in Attica. Crafted in the 5th century BC, this statue depicted Nemesis as a stern, majestic figure embodying divine retribution and justice. Made from Parian marble, the statue was renowned for its exquisite detail and symbolic attributes, including a wreath, rein, and a branch, symbolizing punishment, control, and the restoration of balance.

After three years of meticulous research, Professor of Archaeology at Thessaloniki University, George Despinis, has made a significant breakthrough by assembling around 340 fragments of the Nemesis statue, supplementing the previously known head fragment held at the British Museum. While about one-fifth of the statue has been recovered, Despinis’ work goes beyond merely reconstructing this admired masterpiece. His analysis of the fragments has, for the first time, precisely revealed the unique style of Agorakritos, allowing him to identify parts of the Parthenon pediments and friezes created under the direction of Pheidias. https://www.penn.museum/sites/expedition/nemesis/

According to Pausanias and other sources, the Nemesis statue originated from a large marble slab that Datis, the Persian general under Darius, intended to use for a victory monument after defeating the Athenians during his campaign. However, following the Persian defeat at the Battle of Marathon, the Athenians discovered the massive slab abandoned on the battlefield. Based on Professor George Despinis’ calculations, the stone must have been nearly half the height of a Stonehenge monolith. Though the exact method of transporting the stone from Marathon to the Rhamnous sanctuary remains a mystery, it is widely believed that Agorakritos, a pupil of Pheidias, sculpted the statue, completing it by the onset of the Peloponnesian War, with its intricate pedestal and frieze finalized during the Peace of Nikias. https://www.the-athenian.com/site/1989/04/01/the-temples-of-rhamnous/

On February 17, 2024, during my visit to Athens, Greece, I had the pleasure of attending the exceptional exhibition titled ‘NοΗΜΑΤΑ’: Personifications and Allegories from Antiquity to Today, held at the Acropolis Museum. Curated by Professor Nikolaos Chr. Stampolidis and his associates, this exhibition formed a unique Tetralogy, wherein the Greek word ‘ΝΟΗΜΑ’ (‘Meaning’ in English) metaphorically transformed into ‘ΝΗΜΑ’ (‘Thread’), weaving together diverse artworks including statues, reliefs, vases, coins, jewelry, Byzantine icons, and paintings. Among the exhibition artworks that impressed me most was the 2nd-century AD marble Head of Nemesis, the personification of justice, displayed, currently, at the Museum of Ancient Agora in Athens, Greece. According to museum experts, this Head is one of many Roman copies of the original 5th-century statue by Agorakritos from Rhamnous, whose masterful work combined idealized beauty with the imposing presence of a goddess who embodied the consequences of human arrogance and excess.

For a Student Activity, please… Check HERE!